Starring Luca Grassi, Matteo Barca, Desiree Rancatore.

Classical Music

Classical Music

Classical Music

Donizetti: Il Pigmalione (Recorded Live 1960)

This production was filmed live in 2007 at the Teatro Donizetti of Bergamo. The singing of Silvia Dalla Benetta as Adina and Alex Esposito as Dulcamara lifts the show to a higher plane. GAETANO DONIZETTI: Silvia Dalla Benetta; Raul Hernandez; Damiano Salerno; Alex Esposito; Elena Borin; Orchestra and Chorus of the Bergamo Musica Festival Gaetano Donizetti/Alessandro De Marchi; alessio Pizzech, director;

Donizetti: Linda di Chamounix

Starring Gian Luca Pasolini, Jos� Maria Lo Monaco, Dimitra Theodossiou.

This sparkling opera buffa is a premiere from the 2016 Donizetti Festival of Bergamo, with the part of Pasquale in Neapolitan dialect. It is the story of two rich merchant brothers from Lisbon, who are used to weighing everything against their barganing power. Also the marriage of Pasquale's niece Isabella is a "bargain" to them: she must marry another merchant, so as not to break with family tradition. The gags among the various characters are hilarious - especially those between the two brothers, who have competely different characters - creating an almost surreal atmosphere. Olivo, interpreted by Bruno Taddia, is teh real protagonist: as Isabella's father, he portrays a gruff, inflexible man, and does so with self-assurance and ease but never over the top. No less convincing is Filippo Morace as his brother Pasquale: istrionic and exhilarating as a na ctor, musically precise, and excellent in his Neapolitan dialect performance. Laurea Giordano, also thanks to her physique du role, is perfect as Isabella, the heartbroken girl torn between love for the young Camillo and obedience towards her grouchy father.

From fake potions and feigned emotions to the follies of youth and the vulnerability of age, this set brings together two of Donizetti's greatest comedies, L'elisir d'amore and Don Pasquale, charming works packed with musical wit in which the composer looks beyond the archetypes of the Buffa tradition to create complex, highly individual characters. Both operas are brought to life in sparkling Glyndebourne productions, with first-class singing from such noted artists as Alessandro Corbelli, Danielle di Niese and Ekaterina Siurina, and expert bel canto conducting from the pit.

From fake potions and feigned emotions to the follies of youth and the vulnerability of age, this set brings together two of Donizetti's greatest comedies, L'elisir d'amore and Don Pasquale, charming works packed with musical wit in which the composer looks beyond the archetypes of the Buffa tradition to create complex, highly individual characters. Both operas are brought to life in sparkling Glyndebourne productions, with first-class singing from such noted artists as Alessandro Corbelli, Danielle di Niese and Ekaterina Siurina, and expert bel canto conducting from the pit.

In 1835 Donizetti's Lucia di Lammermoor made it's triumphant debut at the San Carlo in Naples. For it's Parisian appearance four years later as Lucie de Lammermoor, the composer went much further than merely Gallicising the heroine's first name, he subjected the opera to a condensation in which Lucie became the only woman in the entire cast. Donizetti's orchestration remains largely the same but the French influence is audible in new recitatives. This later version is no surrogate or mere abridgement, but, perhaps because of it's greater concision, is more brutal and emotional than the original.

In 1835 Donizetti's Lucia di Lammermoor made it's triumphant debut at the San Carlo in Naples. For it's Parisian appearance four years later as Lucie de Lammermoor, the composer went much further than merely Gallicising the heroine's first name, he subjected the opera to a condensation in which Lucie became the only woman in the entire cast. Donizetti's orchestration remains largely the same but the French influence is audible in new recitatives. This later version is no surrogate or mere abridgement, but, perhaps because of it's greater concision, is more brutal and emotional than the original.

Classical Music

This album features a recording made during a performance at the Prinzregententheater in Munich on January 18, 1962. It was directed by Rudolf Hartmann and the performance was given, as was usual in those days, in German. The original analogue tapes have been stored at the Fritz Wunderlich Society in Kusel (in the Rhineland-Palatinate), and have been restored by TechneAudio in Baden-Württemberg. Some specialists suspect that the recordings were made by Fritz Wunderlich himself, a great fan of the latest technology. Despite costly and careful restoration of the tapes, some defects and intrusive artefacts on the mono tapes, some of which are damaged, are clearly audible. However, the historic significance of this recording certainly justifies its release. Not surprisingly, Fritz Wunderlich (1930-1966) in the role of Ernesto receives the greatest attention. Probably Germany’s greatest tenor knew just how to cultivate the love-sick bachelor, as he did with all his roles, and to breathe life into the character with his inimitable voice. In addition to lyric qualities, the role demands other skills such as the canto fiorito style of ornamented singing of the nineteenth century.